/ 



( 



y-jioied IllusLrations. Price 50 ct / 



No OCCXCVII. 

\ FRENCH'S STANDARD DRAMA, 

' oThf 'Slctinti €bi;tiou. 
PR 4713 

.P9 ►.*.. — 

Copy 1 

PYGMALION ANDGALATEA 



AN KNTIRKLY ORIGINAI. 



NfYTHOLOGTCAL COMEDY. 



IN THREE ACTS. 



:B^^ "W- S- G-II_i13E!P=LT- 



NEW yOitK: 

sirccKesoK to 

Samuel French & Son, 

HUltl.IRHKRS, 

28 West 23d Street. 



London : 
SAMUEL FRENCH, 

PUBLISHER, 

89 STRAND. 



ifainiuff Konge, Pearl Powdc ,. Whiting, Mougoliau, Hiiday Rouge, Vioiet Powder, 
Vl Puff- Chrome. Blue, Buib Cork, Pencils for the eyelids. Spirit Gum, India Ink, 
\lair Brushes, Hare's Foot, iVool, Craped Hair. Cold Cream, Joinini^ Paste. Min- 
\nffs, Scissors and Looking Glaea; iJacUcd ueatly in Strong Fau<;y , r l-boara 
\.00; Elegant Tin Cases, $.:.'X). 

ARTICLES TO BE HAB SEPARATEIY. FOR PRICES, SEE CATALOGUE. 



FREXCa S DESCKIPTIVK LIST. 



SCENEKY, 




With a view to obviate the great difficulty experienced by AmateurK (partiriilarly in 
country houses) in obtaining Scenery, &c., to fix in a Drawing Room, and then only 
by considerable outlay for hire atid prfat damage causetl to walls, we have decided to 
keep a series of Scenes, &c., colored on strong paper, which can be joined together 
or pasted on canvas or wood, accordinij to requirement. Full directions, with dia- 
grams showins exact size of Hack Scenes, Borders, and Wings, can be had free ou 
application. The following four scenes consist each of thirty Bheeta of paper. 

GARDEN. 

The above in an illustration of this scene. It is kept in two sizes. The size of the 
back scene of the snialler one is 10 feet long and 6i4 f^pt high, and extends, with th« 
wings and border, to 15 feet long and 8 feet high. The back scene of the large one 
is 13 feet long and 9 feet high, and extends, with the wings and border, to 20 feet 
long and 11>^ feet high. It is not necessary to have the scene the height of the i-ooni, 
as blue paper to represent sky is tisually hung at the top. Small size, with Wiuga and 
Border complete, $7.50 ; large size, do., $10.00. 



WOOD. 

This is similar in style to the nbove, only a wood pcene is introduced in the oontre. 
It is kept in two sizes, as the previous scene, .ami blue paper can be introduced as be« 
fore indicated. Small size, with Wings and Borders complete, $7.50; large size, do., 
$10.00. 

FOLIAGE. — This is a sheet of paper on which foliage is drawn, which can ba 
repeated and out in any shape required. Small size, 30 in. by 20 in., 25 cts. per sheet ; 
large size, 40 in. by 30 in., HTi cts. per sheet. 

', TREE TRI'!VK.-This is to be used with the foliage sheets and placed at the 
bottom of the Bcene. — l-rico and size same us foliage. 



. DRAWING ROOM. 

This Bcrne i=i only kept in the large size. The back scene is 13 feet long and feet 
high, and ixteiids, with the winits and borders, to 23 fett long and 11)4 feet high. 
In the centre is a French window, leading down to the ground, which could be made 
pnacticable if recpiired. On the left wing is'a fireplace with mirror above, and on the 
right wing is an oil painting. The whole scene is, tastefully ornamented and beauti- 
fully colored, forming a most elcsant jiicture. Should a box scene be required 
extra wings can be had, consisting of doors each side, which could be made praeticalile. 
l>rice, with Border and one set of Wings, $10.00 ; with Border and two eeta of Wings, 
to form box sceue, $12.50. 

COTTAGE INTERIOR. 

This is also kept in the large size only. In the centre is a door leading outside. On 
the left centre is a rustic lireplace, and the rightcentre is a window. On the wings are 
painted shelves, &c., to complete the scene. A box scene can be made by purchasing 
extra wings, as before described, and forming doors on each side. Price, with Bori'er / 
and one seD o£ Wings, $U).llO ; with Bonier and two sets of Wings, to form box sceue7 
$12.50. / 

The above Scenes, mounted, can be seen at 28 West 23d Sf 
9 New York. Full directions accompany each Scene. ' 



No. CCCXCVII. 

FRENCH'S STANDARD DRAMA. 

TEE ACTING EDITION. 



PYGMALION AND GALATEA 



AK BNTIBELT OBIOIKAK 



MYTHOLOGICAL COMEDY, 



iN THREE ACTS, 



BY W. S. GILBERT. 



NEW YORK LONDON 

T. H. FEENCH SAMUEL FRENCH 

Successor to Samuel Fbench & Son 

PUBLISHER PUBLISHER 

28 West 23d Stiieet 89 St hand 



,■/?? 



[First performed at the Raymarhet Theatre, London, on 
Saturday, 9<th December, 1871, under the mauagemtnt 

of Mk. J. B. BUCKSTONE.] 



DRAMATIS PERSONS. 

Pygmalion (an Athenian Sculptor) Mr. KendAIi. 

Leucippe (a Soldier) Mr. Howe. 

Chryaos {an Art Patron) Mr. Buckstoni. 

Agesimos {CJirysos' Slave) Mr. Braid. . 

MimoB {Pygmalion's Slave) Mr Weathersbt. 

G&l&tea. {an Animated Statve) Miss M. Robertson. 

Cynisca {Pygmalion s Wife) Miss Caroline Hill 

Daphne (C/iri/sos' Wife) Mrs. Chippendale. 

Myrine {Pygmalion's Sister) Miss Merton. 



SCENE: PYGMALION'S STUDIO. 

A Greek Interior by John O'Connor. 

^ fThe action is comprised within the space of twenty-four hours. 
Time occupied in representation, one hour and three-quarters.'\ 



NOTH. — The statue of Galatea should be modelled expressly to re- 
semble the lady who plays the part. If this is impracticable^ 
some existing statue may be used, but it is ebsential that its 
drapery should be perfectly modest and simple. The "change" 
fiom the statue to the living person is m^st conveniently 
effected by means of a properly counter-weighted "turn-table," 
on which the actress and statue are placed back to back, with 
■what it technically known as a "backing " between them. The 
two curtains that conceal the statue should " travel '' on two 
Beparate but paiallel iron rods, three inches apart, and the 
curtains should be broad enough to overlap each other three or 
four iuches. 



PYGMALION AND GALATEA. 



ACT I. 



PcENB. — Pygmalton's Stiidio. Several classical statues are 
placed about the room ; at the back a temple or cabinet con' 
taining a statue of Galatea, before which, curtains are 
draum concealing the statue from the audience. The curtahts 
must be so contrived that they vnll open readily and display 
the statue completely, without much effort on the part of the 
actor who opens them. Theg must also be fitted with 
mechanical appliances to close apparently of their oivn accord 
at the latter part of Act III. ; doors, B. and L. I.E., L. 3 E., 
and opening u.e.b. 

MiMOS, a slave, is discovered at work, l.c, on a half 
finished statue. To him enter Agesimos, u.e,r., ; he is 
magnificently dressed ; he -comes down R.c. 

Ages, (haughtily) GoodiAsiy. Is this Pygmalion's studio I 

MiM. (Rowing) It is. 

Ages. Are you Pygmalion ? 

MiM. Oh, no ; 

1 am his slave. 
Ages. And has Pygmalion slaves ! 

A sculptor with a slave to wait on him ; 

A slave to fetch and carry — come and go — 

And p'raps a whip to thrash him if he don't 1 

"What's the world coming to 1 {sits, r.c.) 
MiM. What is your will 1 

Ages. This : Chrysos will receive Pygmahon 

At half-past three to-day ; so bid him come. 
MiM. And are you Chrysos, sir ? 
Ages. Well, no, I'm not. 

That is, not altogether, I'm in fact, 

His slave. 
MiM. {relieved) His slave ! ha, ha ! 

Ages, {very proudly, rises) My name's AgcsimoB I 

MiM. And has Agesimos a master then. 

To bid him fetch and carry — come and go — 

And wield a whip to thrash him if he don't? 

What's the world coming to 1 {resumes ivork) 
Aqes. Poor purblind fool I 

I'd Booner tie the sandals of my lord. 



•1 PYGMALION AND GALATEA. 

Than own five hundred thousand such as you. 

Whip ! why Agesimos would rather far 

Be whipped by Chrysos seven tinies a day, 

Than whip you hence to the Acropolis ; 

What say you now ? 
MiM. Why, that upon one point 

Affesimos and I are quite agreed. 

And who is Chrysos ? 
Ages. Hear the slave, ye gods 1 

He knows not Chrysos. 
MiM. Verily, not I. 

Ages. He is the chiefest man in Athens, sir ; 

The f ilher of tjie arts — a nobleman 

Of y^rii'cely i'borality and taste, 

On '•rho'-i tivj hundred starved Pygmaliona 

May ha' ten if they will. 

Unter Pygmalion, u.e.r., down c. 

Ptg. Who is this man ? 

Ages, (hnmhly) I'm Chrysos' slave — (proudly) my name'a 
Agesimos. 
Chrysos has heard of you : he understands 
Tliat you have talent, and he condescends 
To bid you call on him. But take good care 
How you offend him : he can make or mar. 

Pyg. Your master's slave reflects his insolence. 

Tell him from me that, though I'm poor enough, 
I am an artist and a gentleman. 
He should not reckon Art among his slaves : 
She rules the world — so let him wait on her. 

Ages. This is a sculptor 1 

Pyg. (furiously) — And an angry one ! 

Begone, and take my message to your lord. 

{3xit Agesimos, b.it.b.) 
Insolent hound ! 

Enter Cynisca,' r.i.b. 

Cyn. Pygmalion, what's amiss 1 

Pyg. Chrysos has sent his slave to render me 
The customary tribute paid by wealth 
To mere intelligence. 

Cyn. Pygmalion ! 

Brooding upon the chartered insolence 
Of a mere slave ! Dismiss the thought at once* 
(Come, take thy chisel, thou hast work to do 
Jiire thy wife-model takes her leave to-day ; 
In half-an-honr I must be on the road 
To Athens, Half-au-hour reiuuius to thee— 



PYGMALION AND GALATEA. 6 

Come — make the most of it — I'll pose myself ; 

Say — will that do ? (poses herself against base, R.) 
Pyg. I cannot work to-day. 

My hand's uncertain — I must rest awhile. 
Cyn. Then rest and gaze upon thy masterpiece, 

'Twill reconcile thee to thyself — Behold 1 

(draivi curtain and discovers statue of Galatba*) 
Pyg. Yes — for in gazing on my handiwork, 

I gaze on heaven's handiwork — thyself — — 
Cyn. And yet, although it be thy masterpiece, 

It has the fault thy patrons find with all 

Thy many statues. 
Pyg. What then do they say 1 

Cyn. They say Pygmalion's statues have one head- 
That head, Cynisca's. 
Pyg. So then, it's a fault (rises) 

To produce perchance an hundred fold, 

For the advantage of mankind at large. 

The happiness the gods have given me ! (taJces her hand) 

Well, when I find a fairer head than thine 

I'll give iny patrons some vaiiety. 
Cyy. (ha iilij) I would not have thee find another head 

That seemed as fair to thee for all the world ! 

We'll have no stranger models if you please, 

I'll be your model, sir, as heretofore. 

So reproduce me at your will ; and yet 

Ic were sheer vanity in me to think 

That this fair stone recalls Cynisca's face, 
Pyg. ' Cyiisca's face in every line ! 
Cyn. No, no ! 

Those ou lines softened, angles smoothed away, (up L.) 

The eyebrows arched, the head more truly poised, 

The forehead ten years smoother than my own, 

Tell rather of Cynisca as she was 

When, in the silent groves of Artemis, 

Pygmalion told his love ten years ago ; 

And then the placid brow, the sweet, sad lips. 

The gentle head down-bent resignedly. 

Proclaim that this is not Pygmalion's wife. 

Who laughs and frowns, but knows no meed between I 

I am no longer as that statue is. 

(doivn L. ; closes cxirtaiiis) 
Pyg. Why, here's ingratitude, to slander Time, 

Who in his hurried course has passed thee by ! 

Or is it thai Cynisca won't allow 

• Notb. — These curtains must be pushed aside by hand — not drawn 
apart by arrangement of cord and pulleys. 



PYGMALION AND GALATEA. 

That Time cordd pass her by, and never pause 
To print a kiss upon so fair a face ? 

Enter Myrine, k. v. e., running. 

Myr. {down B. c.) Pygmalion ; I have news. 
Pyo. (c.) — My sister, speak. 

Myr. (bashfully) Send Minios hence. 

Pyg. {signs to Mimos, who exits, li. and D.) Now we are 
quite alone. 

Myr. Leucippe 

Cyn. (l. c.) Well! 

Myr. {to Pygmalion) He was thy echoolfellow, 

And thou and he are brothers save in blood ; 

He loves my brother as a brother. 
Pyg. Yes, 

I'm sure of that ; but is that all thy news ? 

There's more to come ! 
Myr. {bashfully) He loves thy sister too. 

Pyg. Why this is news, Myrine — kiss me, girl. 

(kisses her and puts Jier to oJ 
I'm more than happy at thy happiness, 
There is no better fellow in the world. 
Oyn. But tell UB all about it, dear. How came 
The awkward, bashful, burly warrior, 
To nerve himself to this confession ? 

(Leucippe appears at door^ v. B. R.) 
Myr. Why- 

He's here — {goes to him and brings him down) — and he 
shall tell thee how it was. 
Letjc. {awkardly) In truth I hardly know, I'm new at it ; 
I'm but a soldier. Could I fight my way 
Into a maiden's heart, why well and good ; 
I'd get there somehow. But to talk and sigh, 
And whisper pretty things, I can't do that ; 
I tried it, but I stammered, blushed, and failed. 
Myrine laughed at me — but, bless her heart, 
She knew my meaning, and she pulled me through I 
BIyr. I don't know how, Pygmalion, but I did. 

He stammered, as he tells you, and I laughed ; 

And then I felt so sorry, when I saw 

The great, big, brave Leucippe look so like 

A beaten schoolboy — that I tliiiik I cried. (pattse) 

And then — I quite forget what happened next. 

Till, by some means, we, who had always been 

So cold and formal, distant and polite, 

Found oureelves 



PYGMALION AND GALATEA. 7 

Lkuc. Each upon the other's neck ! 

You are not angry ? (offtring his hand) 

Pyg. (taking it) Angry ? overjoyed ! 

I wish I had been there, unseen, to see : 
No sight could give me greater happiness ! 

Leuc. What ! say you so ? Why then, Myrine, girl, 

We'll reproduce it for his benefit. {they embrace^ 

See here, Pygmalion, liere's a group for thee 1 
Come, fetch thy clay, and set to work on it, 
I'll promise thee thy models will not tire. 

Cyn. How now, Leucippe, where's the schoolboy blush 
That used to coat thy face at sight of her ? 

Leuc. The coating was but thin, we've rubbed it off ! 

(kisses Myrine and takes her to seat, t.) 

Pyg. Take care of him, Myrine ; thou hast not 
The safeguard that protects her. 

(indicating Cynisca, who crosses b.c.) 

Myr. (sits u) — What is that? 

Cyn. (seated b.,) It's a strange story. Many years ago 
I was a holy nymph of Artemis, 
Pledged to eternal maidenhood. 

Leoc. Indeed ! 

MvR. How terrible ! 

Cyn. • It seems not so to me ; 

For weeks and weeks I pondered stedfastly 
Upon the nature of that serious step 
Before I took it — lay awake at night. 
Looking upon it from this point and that, 
And I at length determined that the vow, 
Which to Myrine seems so terrible, 
Was one that I, at all events, could keep. 

(Leuoippe whispers Myrine) 
Myr. How old wast thou, Cynisca? 
Cyn. I was ten ! 

Well — in due course, I reached eleven, still 

I saw no reason to regret the step ; 

Twelve — thirteen — fourteen saw me still unchanged; 

At fifteen, it occurred to me one day 

That marriage was a necessary ill, 
, Inflicted by the gods to punish ua, 

And to evade it were impiety ; 

At sixteen the idea became more 6xed ; 

At seventeen I was convinced of it. 
Pyg. In the meantime she'd seen Pygmalion. 

(Pygmalion is vp l. , working on uniinished statue) 
Myr. And you confided all your doubts to him 1 



8 PYGMALION AND GALATEA. 

Cyn. I did, and he endorsed them— so we laid 
The case before my mistress Artemis ; 
No need to tell the arguments we used, 
Suffice it that they brought about our end. 
And Artemis, her icy stedfastness 
Thawed by the ardour of Cynisca's prayers, 
Replied, "Go, girl, and wed Pygmalion ; 
*'J3ut mark my words — {rixesand crosses c.)— whichever 
' one of you, 

*• Or he or she, shall falsify the vow 
" Of perfect conjugal fidelity — 
*' The wronged one, he or she, shall have the power 
"To call down hlindiiess on the backslider, 
** And sightless shall the truant mate remain 
'* Until expressly pardoned by the other."' 
Leuc. It's fortunate such powers as your's are not 
In u.niversal use ; for if they were. 
One half the husbands and one half the wives 
Would be as blind as night : the other half. 
Having their eyes, would use them — on each other I 

MiMOS enters, cr. e. l. , and gives Pygmalion a scroll, which he 
reads at back. Exit Mimos, u. e. l. 

Myr. But then, the power of calling down this doom 
Remains with thee. Thou wouldst not burden him 
With such a curse as utter sightlessness, 
However grievously he might offend. 

Cyn. {earnestly) I love Pygmalion for his faithfulneSB ; 
The act that robs him of that quality 
Will rob him of the love that springs from it. 

Myk. P.ut sightlessness — it is so terrible ! 

Cyn. And faithfulness — it is so terrible 1 
I take my temper from Pygmalion ; 
While he is god-like — he's a god to me, 
And should he turn to devil, I'll turn with him, 
I know no half moods, I am love or hate ! 

Myr. (to Leucippej What do you say to that ? 

Leuc. Why, on the whole I'm glad you're not a nymph of 
Artemis ! 

(Exeunt Myrine and Leucippe, i. g. L.) 

Pyo. I've brought him to his senses. Presently 

My patron Chrysos will be here to earn 

Some thousand drachmas. (down R.) 
Cyn. (l. c.) How, my love, to earn 1 

He is a man of unexampled wealth. 

And follows no profession. 
Pyg. Yes, he does ; 



PYGMALION AND GALATEA. 9 

He is a patron of the Arts, and makes 
A handsome income by his patronage. 

Cyn. How so ? '^ 

Pyg. He is an ignorant biiflbon ! 

But purses hold a higher rank than brains, 
And he is rich ; wherever Chrysos buys, 
The woild of smaller fools comes following, 
And men are glad to sell their work to him 
At half i*s proper price, that they may say, 
" Chrysos has purchased handiwork of ours." 
He is a fashion, and he knows it well 
In buying sculpture ; he appraises it 
As he'd appraise a master-mason's work, 
So much for marble, and so much for time, 
So much for working tools — but still he buys, 
And 80 he is a patron of the Arts ! 

Cyn. To think that heaven-bcrn Art should be the slavft 
Of such as he. 

Pyo, Well, wealth is heaven-born too. 

I work for wealth. 

Cyn. Thou workest, love, for fame. 

I'yCx. And fame brings wealth. The thought's contemptible. 
But 1 can do more than work for wealth. 

(turns from her)\ 
Cyn. Such words from one whose noble work it is 

To call the senseless marble into life ! 
Pyg. Life! Dost thou call that life ? 

Cyn. It all but breathes ! (sifs l.) 

Pyg. (wpK. , bitterly) It all but breathes — therefore it talks 
aloud ! 

It all but moves — therefore it walks and runs { 

It all but lives, and therefore it is life ! 

No, no, my love, the thing is cold, dull stone, 

Shaped to a certain form, but still dull stone, 

{up K. c, looking at statue 

The lifeless, senseless mockery of life. 

The gods make life, I can make only death 1 

Why, my Cynisca, though I stand so well, 

The merest cut-throat, when he plies his trade, 

Makes better death than I, with all my skill ! 
Cyn. Hush, my Pygmalion ! the gods are good, 

And they have made thee nearer unto theta 

Than other men ; this is ingratitude ! 
Pyg. Not so ; has not a monarch's second son 

More cause for anger that he lacks a throne 

Than he whose lot is cast in slavery '( 



10 PYGMALION AND GALATEA. 

Cyn. (rises) Not much more cause, perhaps, but more excuse. 
Now I must go. 

Pyg. So soon, and for so long. 

Cyn. One day, 'twill quickly pass away ! 

Pyg. With those 

Who measure time by almanacks, no doubt, 
But not with him who knows no days save those 
Born oF the sunlight of Cynisca's eyes ; 
It will be night with me till she returns. 

Cyn. Then sleep it through, Pygmalion ! But stay, 
Thou shalt not pass the weary hours alone ; 
Now mark thou this — while I'm away from thee, 
There stands my only representative, 

{indicating Galatea, aiid withdrawing curtains) 
She is my proxy, and I charge you, sir, 
Be faithful unto her as unto me ! 
Into her quietly attentive ear 
Pour all thy treasures of hyperbole. 
And give thy nimble tongue full license, lest 
Disuse should rusf. its glib machinery ; (advancing) 
If thoughts of love should haply crowd on thee, 
There stands my other self, tell them t© her, 
She'll listen well ; (he makes a movement of impatience) 

Nay, that's ungenerous. 
For she is I, yet lovelier than 1, 
And hath no temi er, sir, and hath no tongue ; 
Thou hast thy license — make good use of it. (crosses E.) 
Already I'm half jealous — there ! 

(draws cui'tain together concealing statue) 
It's gone. 
The thing is but a statue after all. 
And I am safe in leaving thee with her ; 
Farewell, Pygmalion, till I return. 

(kisses him and exit X7.E.B.) 
Pyg. (bitterly) " The thing is but a statue after all I " 
Cynisca little thought that in those words 
She touched the key-note of my discontent- 
True, I have powers denied to other men ; 
Give me a block of senseless marble — Well, 
I'm a magician, and it rests with me 
To say what kernel lies within its shell ; 
It shall contain a man, a woman, child — 
A dozen men and women if 1 will. 
So far the gods and I run neck and neck, 
Nay, so far I can beat them at their trade ; 
I am no bungler — all the men I make 



PYGMALION AND GALATEA. U 

■ Are straight limbed fellows, each magnificent 
In the perfection of his manly grace : 
I make no crook-backs — all my men are gods, 
]My women goddesses, in outward form. 
But there's my tether — I can go so far, 
And go no farther — at that point I stop, 
To curso the bonds that hold me sternly back. 
To curse the arrogance of those proud gods. 
Who say, " Thou shalt be greatest among meUf 
" And yet infinitesimally small ! " 

JrALATEA (jrom behind curtain c. ) Pygmalion t 

Pyo. {after a pause) Who called ? 

Gai,. Pygmalion 1 

PiGMAiJON tears away curtain and discovers Galatea alive 

Pyg. Ye gods I It lives ! 

Gal. Pygmalion ! 

Pyg. It speaks I 

I have my prayer ! my Galatea breathes ! 
Gal. Where am I ? Let me speak, Pygmalion ; 

Give me thy hand— both hands — how soft and warm! 

Whence came I ? (descends) 
Pyg. Why, from yonder pedestaL 

Gal. That pedestal ! Ah, yes, I recollect, 

There was a time when it was part of me. 
Pyg. That time has passed for ever, thou art aow 

A living, breathing woman, excellent 

In every attribute of womankind. 
Gal. Where am I, then ? 
Pyg. Why, born into the world 

By miracle. 
Gal. la this the world ? 

Pyg. It li. 

Gal. This room ? 
Pyo. This room is portion of a house ; 

The house stands in a grove, the grove itself 

Is one of many, many hundred groves 

In Athens. 
Gal. And is Athens then the world? 

Pyg. To an Athenian — Yes 

Gal. And I am one 1 

PvG. By birth and parentage, not by descent. 
Gal. But how came I to be ? 
Pyg. Well —let me sea. 

Oh — you were quarried in Pentelicus ; 

I modelled you in clay — my artisans 

Then roughed you out in marble — 1, in turn, 



12 PYGMALION AND GALATEA, 

Brought my artistic skill to bear on you, 
And made you what you are — in all but lifo-» 
The gods completed what I had begun, 
And gave the only gift I could not give. 

Gal, Then this is life ? 

Pyo. It is. 

Gal. And not long since 

I was a cold, dull stone. I recollect 
That by some means I knew that I was stone, 
That was the first dull gleam of consciousness ; 
I became conscious of a chilly self, 
A cold immovable identity, 
I knew that I was stone, and knew no more ; 
Then, by an imperceptible advance, 
Came the dim evidence of outer things, 
Seen — darkly and imperfectly — yet seen— 
The walls surrounded me, and I, alone, 
That pedestal — that curtain — then a voice 
That called on Galatea ! At that word, 
Which seemed to shake my marble to the core. 
That which was dim before, came evident. 
Sounds, that had hummed around me, indistinct, 
Vague, meaningless — seemed to resolve themselves 
Into a language 1 could understand ; 
I felt my frame pervaded with a glow 
That seemed to thaw my marble into flesh ; 
Its cold hard substance throbbed with active life, 
My limbs grew supple, and I moved — I lived ! 
Lived in the ecstacy of new born life ; 
Lived in the love of him that fashioned me ; 
Lived in a thousand tangled thoughts of hope, 
Love, gratitude, thoughts that resolved themselves 
Into one word, that word, Pygmalion ! {kneels to him) 

Pyg. I have no words to tell thee of my joy, 
O woman — perfect in thy loveliness. 

Gal. What is that word 1 Am I a woman ? 

Pyg. Yes. 

Gal. Art thou a woman ? 

Pyg. No, I am a man. 

Gal. What is a man ? 

Pyg. a being strongly framed, 

To wait on woman, and protect her from 
All ills that strength and courage can avert ; 
To work and toil for her, that she may rest ; 
To weep and mourn for her, that she may laugh ; 
To %ht and die for her, that she may live ! 



PYGMALION AND GALATEA. 13 

Gal. {after a <pause) I'm glad I am a woman. 

{takes his Jiand—he leads her down L.] 
Pro. So am 1. {they sit) 

Gal. That I escape the pains thou hast to bear ? 
Pyg. That I may undergo those pains for thee. 
Gal. With whom then wouldst thou fight 1 
PvG. With any man 

Whose word or deed gave Galatea pain. 
Gal. Then there are other men in this strange world ? 
Pyg. There are indeed. 
Gal. And other women ? 

Pyg. (taken aback) Yes; 

Tliough for the moment I'd forgotten it 1 

Yes, other women. 
Gal. And for all of these 

Men work, and toil, and mourn, and weep, and fight t 
Pyg. It is man's duty, if he's called upon. 

To fight for all — he works for those he loves. 
Gal. Then by thy works I know thou lovest me. 
Pyg. Indeed, I love thee ! (embraces her) 
Gal. With what kind of love? 

Pyg. I love thee (recolh cting himself and releasing her) as a 
sculptor loves his work! 

(aside) There is diplomacy in that reply. 
Gal. My love is different in kind to thine : 

I am no sculptor, and I've done no work, 

Yet I do love thee ; say — what love is mine ? 
Pyg. Tell me its symptoms — then I'll answer thee. 
Gal. Its symptoms ? Let me call them as they come. 

A sense that I am made by thee /or thee. 

That I've no will that is not wholly thine. 

That I've no thought, no hope, no enterprise, 

That does not own thee as its sovereign ; 

That I have life, that I may live for thee, 

That I am thine — that thou and I are one t 

What kind of love is that ? 
Pyg. A kind of love 

That I shall run some risk in dealing with. 
Gal. And why, Pygmalion ? 
Pyg. Such love as thine 

A man may not receive, except indeed 

From one who is, or is to be, his wife. 
Gal. Then I will be thy wife. 
Pyg. That may not be ; 

I have a wife — the gods allow but one. 
Gal. Why did the gods then send me here to thee T 
Pyo. I canuot say — unless to punish me (rises) 



14 PYGMALION AND GALATEA, 

For unreflecting and presumptuous prayer ! 

I pi-ay'd that thou should'st live. I have my prayer. 

And now I see the fearful consequence 

Tliat must attend it ! 
Gal. Yet thou lovest me ? {rises) 

Pyg. Who could look on that face and stifle love 1 
Gal. Then I am beautiful ? 
Pyg. Indeed thou art. 

Gal. I wish that I could look upon myself. 

But that's impossible. 
Ptg. Not bo indeed, (crosses ISl.) 

This mirror will reflect thy face. Behold ! 

(harids her a mirror from table, E.O.) 

Gal How beautiful ! I am very glad to know 

That both our tastes agree so perfectly ; 

Why, my Pygmalion, I did not think 

That aught could be more beautiful than thoQ, 

Till I behold myself. Believe me, love, 

I could look in this mirror all day long. 

So I'm a woman. 
Pyg. There's no doubt of that I 

Gal. Oh happy maid to be so passing fair ! 

And happier still Pygmalion, who can gaze, 

At will, upon so beautiful a face ! 
Pyg. Hush ! Galatea — in thine innocence 

(taking glass from her) 

Thon sayest things that others would reprove. 
Gal. Indeed, Pygmalion ; then it is wrong 

To think that one is exquisitely fair ? 
Ptg. Well, Galatea, it's a sentiment 

That every other woman shares with thee ; 

They thi7ik it — but they keep it to themselves. 
Gal. And is thy wife as beautiful as I ? 
Pyg. No, Galatea, for in forming thee 

I took her features — lovely fn themselves— 

And in the marble made them lovelier still. 
Gal. (disappointed) Uh 1 then I'm not original ? 
Pyg. Well— no— 

That is — thou hast indeed a prototype. 

But though in stone thou did'st resemble her, 

In life, the difference is manifest. 
Gal. I'm very glad that I am lovelier than she. 

And am I better ? (sits, L.) 

Pyg. That I do not know. 

Gal. Then she has faults. 
Pyg. Very few indeed ; 



PYGMALION AND GALATEA. 16 

Mere trivial blemishes, that serve to show 

Tliat she and I are of one common kin. 

I love her all the better for such faults, 
GaIi. {after a pause) Tell me some faults and I'll commit 

them now. 
Pyg. There is no hurry ; they will come in time : 

{sits beside her^ i^) 

Though for that matter, it's a grievous sin 

To sit as lovingly as a sit now. 
Gal. Is sin so pleasant ? If to sit and talk 

As we are sitting, be indeed a sin. 

Why I could sin all day, But tell me, love, 

Is this great fault that I'm committing now, 

The kind of fault that only serves to show 

That thou and I are of one common kin ? 
Pyg. Indeed, Vm very much afraid it is. 
Gal, And dost thou love me better for such fault ? 
Pyg. Where is the mortal that could answer " no " I 
Gal. Why then I'm satisfied, Pygmalion ; 

Thy wife and I can start on equal terms. 

She loves thee ? 
Pyg. Very much. 

Gal. I'm glad of that, 

I like thy wife. 
Pyg. And why ? 

Gal. {surprised at the question) Our tastes agree. 

We love Pygmalion well, and what is more, 

Pygmalion loves us both, I like thy wife ; 

I'm sure we shall agree. 
Pyg. {aside) I doubt it much. 

Gal. Is she within ? 

Pyg. No, she is not within. 

Gal. But she'll come back 1 

Pyg. Oh, yes, she will come back. 

Gal. How pleased she'll be to know when she returns. 

That there was some one here to fill her place, 
Pyg. {drily) Yes, I should say she'd be extremely pleased. 

{rises) 
Gal. Why, there is something in thy voice which aaya 

That thou art jesting. Is it possible 

To say one thing and mean another ? 
Pyg, Yes, 

It's sometimes done. 
Gal. How very wonderful { 

So clever ! 
Pyg. And so very useful. 



16 PYGMALION AND GALATEA. 

Gax. Yes, 

Teach me the art. 
Pro. The art will come in time. 

My wife will not be pleased ; there — that's the truth. 
Gal. I do not think that I shall like thy wife. 

Tell me more of her. 

Pyo. Well 

(lAL. What did she say 

When last she left thee ? 
Pyo. Humph ! Well, let me see ; 

Oh ! true, she gave thee to me as my wife — 

Her solitary representative ; 

(tenderly) She feared I should be lonely till she came. 

And counselled me, if thoughts of love should come, 

To speak those thoughts to thee, as I am wont 

To speak to her. 
Gal. That's right. 

Pyg. (releasing her) But when she spoke 

Thou wast a stone, now thou art flesh and blood. 

Which makes a difference. 
Gal. It's a strange world : 

A woman loves her husband very much, 

And cannot brook that 1 should love him too ; 

She fears he will be lonely till she comes, 

And will not let me cheer his loneliness : 

She bids him breathe his love to senseless stone, 

And when that stone is brought to life — be dumb ! 

It's a strange world, I cannot fathom it. (crosses, E.) 

Pyg. (aside) Let me. be brave, and put an end to this. 

(aloud) Come, Galatea — till my wife returns, 

My sister shall provide thee with a home ; 

Her house is close at hand. 
Gal. (astonished and alarmed) Send me not hencOt 

Pygmalion — let me stay. 
Pyg. • It may not be. 

Come, Galatea, we shall meet again. 
Gal. (resignedly) Do with me as thou wilt, Pygmalion t 

But we shall meet again ? — and very soon ? 
Pyg. Yes, very soon. 
Gal. And when thy wife returns, 

She'll let me stay with thte ? 
Pyg. I do not know. 

(aside) Why should I hide the truth from her 1 (aloud) 
alas ! 

I may not see thee then. 
Gal. Pygmalion I 

"What fearful words are these ? 



PYGMALION AND GA'A'BA, 17 

Pra. The bitter truth. 

I may not love thee — I must send thee hence. 

Gal. Recall those words, Pygmalion, my love ! 
Was it for this that Heaven gave me life ? 
Pygmalion, have mercy on me ; see 
1 am thy work, thou hast created me ; 
The gods have sent me to thee. I am thine, 
Thine ! only, and unalterably tliine ! (music) 

This is the thought with which my soul is charged. 
Thou tellest me of one who claims thy love, 
That thou hast love lor her alone. Alas ! 
I do not know these things — I only know 
That Heaven has sent me here to be with theo. 
Thou tellest me of duty to thy wife, 
Of vows that tliou wilt love but her ; alas ! 
I do not know these things — I only know 
That Heaven, who sent me here, has given mo 
One all-absorbing duty trf) discharge — 
To love thee, and to make thee love again ! 

During this speech Pygmalion has shown symytoms o/ 
irresolution ; at its coiidnsion he takes her in his artnst 
and embraces her passionately. 

Act Drop. 

£ing when Pygmalion kisses Galatba. 

ACT II. 

Scene. — Same as Act I. See that curtains that concealed 
the statue are closed. Pygmalion discovered at work on an 
unfinished statue, L. 

Ptg. To-morrow my Cynisca comes to me ; 

Would that she had never departed hence 1 

It took a miracle to make me false. 

And even then I was but false in thought ; 

A less exacting wife might be appeased 

By that reflection . But Pygmalion 

Must be immaculate in every thought, 

Even though Heaven's armaments be ranged 

Against the fortress of his constancy. 

Enter Myrine, tJ. e, r., in great excitement, 
Myr. Pygmalion 1 
Pyg. Myrine ! 

Myr. (shrinking from him) Touch me not, 

Thou hast deceived me, and deceived thy wife 1 

Who is the woman thou didst send to me 

To share my roof last night ? 



18 PYGMALION AND GALATEA. 

Pyo, Be pacified ; 

Judge neither of us hastily, in truth 

She is as pure, as innocent as thou. 
Myb. Oh, miserable man — confess the truth, 

Disguise not that of which she boasts aloud. 
Pyg. Of what, then, does she boast ? 
Myb. To all I say 

8he answers with one parrot-like reply, 

** I love Pyi:;malion " — and when incensed 

I tell her that thf)U hast a cheated wife, 

She only says, " I love Pygmalion, 

I and my life are his, and his alone ! " 

Who is this shameless woman, sir 1 Confesi I 
Pyg. Myrine, I will tell thee all. The gods, 

To punish my expressed impiety. 

Have worked a miracle, and brought to Ufa ' 

My statue Galatea. 
Myr. (incredulously) Marvellous, 

If it be true ! 
Pyo. It's absolutely true. 

(Myrine opens the curtains and sees the pedestal empty) 

Myr. The statue's gone ! (Galatea appears at door, R.u.>.) 
Pyo. The statue's at the door I 

Gal. (coming down and embracing him) — 

At last we meet ! Oh ! my Pygmalion ! 

What strange, strange things have happened since vre 
met. 
Pyg. Why, what has happened to thee ? 
Gal. Fearful things ! 

(to Myrine) I went with thee into thine house 

Myb. Well, well. 

Gal. And then I sat alone and wept— and wept 

A long, long time for my Pygmalion. 

Then by degrees — by tedious^degrees. 

The light — the glorious light ! — the Godsent light— 

I saw it sink — sink— sink — behind the world ! 

Then I grew cold — cold — as I used to be. 

Before my loved Pygmalion gave me life. 

Then came the fearful thought that, by degrees, 

I was returning into stone again I 

How bitterly I wept and prayed aloud 

That it might not be so ! " Spare me, ye goda ! 

Spare me," I cried, " for my Pygmalion, 

A little longer for Pygmalion ! 

Oh, take me not so early from my love ; 

Oh, let me see him once — but once again ! " 



PYGMALION AND GALATEA. 19 

But no — they heard me not, for they are good, 
And had they heard, must needs have pitied rae ; 
They had not seen thee, and they did not know 
The happiness that I must leave behind. 
I fell upon thy couch (to Myrinb), my eyelids closed, 
My senses faded from me one by one ; 
I knew no more until I found myself, 
After a strange dark interval of time, 
Once more upon my hated pedestal. 
A statue — motionless — insensible. 
And then I saw the glorious gods come down ! 
Down to this room ! the air was filled with them I 
They came and looked upon Pygmalion, 
And looking on him, kissed him one by one^ 
And said, in tones that spoke to me of life, 
*' We cannot take her from such happiness ! 
Live Galatea for his love ! " And then 
The glorious light that I had lost came Lack- 
There was Myrine's room, there was her couch, 
There was the sun in heaven ; and the birds 
Sang once more in the great green waving trees, 
As I had heard them sing — I lived once more 
To look on him I love ! 

Myr. 'Twas but a dream ! (coming doton, B.) 

Once every day this death occurs to us. 
Till thou and I and all who dwell on earth 
Shall sleep to wake no more ! 

Gal. (horrified, takes Myrine's hand) To wake no more t 

Pyg. That time n^ust come, may be not yet awhile, 
Still it must come, and we shall all return 
To the cold earth from which we quarried thee. 

Gal. See how the promises of new-born. life 

Fade from the bright hope-picture, one by one I 
Love for Pygmalion — a blighting sin : 
His love a shame that he must hide away ; 
Sleep, stone-like senseless sleep, our natural state, 
And life a passing vision born thereof. 
How the bright promises fade one by one ! 

Myr. Why there are many men who thou mayst lov6 1 
But not Pygmalion— he has a wife. 

Gal. Does no one love him ? 

Myr. Certainly — I do. 

He is my brother. 

Gal. Did he give thee life ? 

Myr. Why, no, but then 

Gal. He did not give thee life, 



20 PYGMALION AND GALATEA. 

And yet thou lovest him ! And why not 1 1 

Who owe my very being to his love. 
Pro. Well, thou mayest love me — as a father. 
Mtr. Yes ; 

He is thy father, for he gave thee life. 
Gal. Well, as thou wilt ; it is enough to know 

That I may love thee. Wilt thou love me, too ? 
Pro. Yes, as a daughter ; there, that's understood. 
Gal. Then I am satisfied, {kissing his /innc?) 

Myr. (aside) Indeed, I hope 

Cynisca also will be satisfied ! 

(Exit, R. I. E. Pygmalion crosses n.) 
Gal. (to Pygmalion, who crosses e.) Thou art not going 

from me ? 
Pyg. For awhile. 

Gal. Oh, take me with thee ; leave me not alone 

With these cold emblems of my former self ! 

(alluding to ttatue$) 

I dare not look on them ! 
Pro. Leucippe comes, 

And he shall comfort thee till I return ; 

I'll not be long ! 
Gal. Leucippe ! Who is he ? 

Pyg. a valiant soldier. 
Gal. What is that ? 

Pyg. a man 

Who's hired to kill his country's enemies. 
Gal. (horrified) A paid assassin ! 
Pyg. (amazed) Well, that's rather strong, 

There spoke the thoroughly untutored mind^ 

So coarse a sentiment might fairly pass 

With mere Arcadians — a cultured state 

Holds soldiers at a higher estimate. 

In Athens — which is highly civilised, 

The soldier's social rank is in itself 

Almost a patent of nobility. 
Gal. He kills ! And he is paid to kill t 
Pyg. No doubt. 

But then he kills to save his countrymen. 
Gal. Whether his countrj'men be right or wrong 9 
Ptg He don't go into that — it's quite enough 

That there are enemies for him to kill ! 

He goes and kills them when his orders corno* 
Gal. How terrible ! Why, my Pygmalion, 

How many dreadful things thou teachest me I 

Thou tellest me of death — that hideous doom 

That all must fill ; and having told me this — 



PYGMALION AND GALATEA. 21 

Here is a man whose business is to kill ; 

To filch from othei- men the priceless boon 

That thou hast given me — the boon of life I 

And thou defendest him. 
Pyg. I have no time 

To make these matters clear — but here he comes. 

Talk to him — thou wilt find him kind and good, 

Despite his terrible profession. 
Gal. (m great terror) No ! 

I'll not be left with him, Pygmalion. Stay t 

He is a murderer ! 
Pyg. Ridiculous ! 

Why, Galatea, he will harm thee not, 

He is as good as brave. I'll not be long. 

I'll soon return. Farewell! (Exit,V.Tt.Iu) 

Gal. I will obey 

Since thou desirest it ; but to be left 

Alone with une whose mission is to kill 1 

Oh, it is terrible ! 

Enter Leucippe, r. v. e., with afaivn* that he has shot. 

Lbtjc. a splendid shot. 

And one that I shall never make again ! 
Gal. Monster I Approach me not ! (shrinking into L. corner) 
Leuc. Why, who is this ? 

Nay, I'll not hurt thee, maiden ! 
Gal. Spare me, sir 1 

I have not done thy country any wrong, 

I am no enemy ! 
Leuc. I'll swear to that ! 

Were Athens' enemies as fair as thou, 

She'd never be at a loss for warriors. 
Gal Oh miserable man, repent 1 repent ! 

Ere the stern niaible claim you once again; 

Leuc. I don't quite understand 

Gal. " Remember, sir, 

The sculptor who designed you, little thought 

That when he prayed the gods to give you life. 

He turned a monster loose upon the world. 

See, there is blood upon those cruel hands ! 

Oh, touch me not. 
Leuc. (aside) Poor crazy little girl! 

* Note.— This fawn must be perfectly limp and death-like, and at 
the same time a pretty and interesting object, or the scene which 
follows will excite ridicule. The fawn used at the Haymarkeb 
Theatre was supplied by Mr. H. Ward, Naturalist, 2, Vere-stroet, 
Oxford-street. 



22 PYGMALION AND GALATE.i. 

Why — there's no cause for fear — I'll harm thee not — 

As for the blood, this will account for it. (shotoing fawn) 
Gal What's that? 
Leuc. a little fawn. 

Gal. It does not move t 

Leuc. No, for I wounded her. 
Gal. Oh, horrible ! 

Leuc. Poor little thing 1 'Twas almost accident ; 

I lay upon my back beneath a tree. 

Whistling the lazy hours away — when lo ! 

I saw her bounding through a distant glade; 

My bow was handy ; in sheer wantonness 

I aimed an arrow at her, and let fly, 

Believing that at near a hundred yards 

So small a being would be safe enough, 

But, strange to tell, I hit her. Here she Is ; 

She moves — poor little lady ! Ah, she's dead 1 
Gal. Oh, horrible ! oh, miserable man ! 

What have you done — (takes fawn into her arms)— 

Why you have murdered her 1 

Poor little thing ! I know not what thou art ; 

Thy form is strange to me ; but thou hadst life 

And he has robbed thee of it ! 

Strokes fawn with her hanclke: chief and gives it bach to 
Leucippe. 

(suddenly) Get you hence I 

Ere vengeance overtake you ! 
Leuc. Well, in truth, 

[ have some apprehension on that score. 

It was Myrine's — though I know it not. 

'Twould pain her much to know that it is dead ; 

So keep the matter carefully from her 

Until I can replace it. (Exit Leucippe, B,.v.s.,tuith hind) 
Gal. Get ypu hence ; 

I have no compact with a murderer I 

Enter Mymne, r. i. e. 
Mtr. Why, Galatea, what has frightened thee 1 
Gal. Myrine, I have that to say to thee 

That thou must nerve thyself to hear. That man— 

That man thou lovest— is a murderer ! 
Myr. Poor little maid ! Pygmalion, ere he left, 

Told me that by that name tliou didst describe 

The bravest soldier that our country owns ! 

He's no assassin, he's a warrior. 
Gal. Then what is an assassin ? 
ftlTB. One who wars 



PYGMALION AND GALATEA. 23 

Only with weak, defenceless creatures. Ono 
Whose calling is to murder unawares. 
My brave Leucippe is no murderer. 
Gal. Thy brave Leucippe is no longer brave, 
He is a mere assassin by thy showing. 
I saw him with his victim in his arms, 
His wicked hands dyed crimson with her blood ; 
There she lay, cold and stark, her gentle eyes 
Glazed with the film of death. Siie moved but oncOi 
She turned her head to him and tried to speak, 
But ere she could articulate a word, 
Her head fell helplessly, and she was dead ! 

Myb. Why, you are raving, girl. Who told you thit. '■ 

Gal. He owned it ; and he gloried in the deed. 
He told me how, in arrant wantonness, 
He drew hia bow, and smote her to the heart, 

Myr. Leucippe did all this I Impossible ! 
You must be dreaming ! 

Gal. On my life it's true. 

S^e, here's a handkerchief which still is stained 
With her life blood — I staunched it with my hand. 

Myr. Who was his victim ? 

Gal. Nay — I cannot tell. 

Her form was strange to me — but here he comes ; 
Oh 1 hide me from that wicked murderer ! (crosses It,) 

Enter Leucippe, u. e. r. 

Myr. Leucippe, can this dreadful tale be true 1 
Leuc. {to Galatea, aside) Thou ahouldst have kept my secret. 
See, poor girl. 

How it distresses her. {to Myrine) It's true enough. 

But Galatea should have kept it close, 

I knew that it would pain thee grievously. 
Myr. Some devil must have turned Leucippe's brain I 

You did all this ? 
Leuc. Undoubtedly I did. 

I saw my victim dancing happily 

Across my field of view— I took my bow, 

And, at the distance of a hundred yards, 

I sent an arrow light into her heatt. 

There are few soldiers who could do as muclu 
Myr. Indeed I hope that there are very few, 

Oh, miserable man ! 
Leuc. That's rather hard. 

Congratulate me rather on my aim. 

Of which I have some reason now to boast ; 

As for my victim — why, one more or less, 



2i PYGMALION AND GALATEA, 

What does it matter ? There are plenty left t 

And then reflect. Indeed, I never thought 

That I should hit her at so long a range ; 

My aim was truer than I thought it was, 

And the poor little lady's dead ! 
Myr. Alas ! 

This is the calmness of insanity. 

What shall wo do ? Go, hide yourself away. 

Leuc, But 

Myr. Not a word, I will not hear thy voice^ 

I will not look upon thy face again ; 

Begone ! {sits at table, k. , and sobs) 
Gal. Go, sir, or I'll alarm the house ! 

Lbuc. Well, this is sensibility indeed ! 

Well, they are women — women judge these thing! 

By some disjointed logic of their own. 

I'm oflf to Athena — when your reason comes 

Send for me, if you will. Till then, farewell. 

(i tilt, V. E. R., angrily] 
Myb. Oh, this must be a dream, and I shall wake 

To happiness once more ! 
Gal. (jumping at the idta) A dream ! no doubt ! 

Wo both are dreammg, and wo dream the same, 

But by what sign, Myrine, can we tell 

Whether we dream or wake 1 
Myr. There are some thing! 

Too terrible for truth, and this is one. 

A'nfer Pygmalion, e, u. h., with the hind, 
Pyg. (downv.) — Why, what's the matter with Leucippe, girl? 

I saw him leave the house, and mount his horse 

With every show of anger. What's amiss ? 
MvR. A fearful thing has happened. He is mad, 

And he hath done a deed I da e not name. 

Did he say ought to lh.ee before he left? 
Pyg, Yes ; when I asked him ^Vhat had angered him. 

He threw me this, {showing hind) 
Gal. {in extreme horror) — His victim — take it hence 1 

I cannot look at it. 
Myr. Why what is this ? 

Gal, The being he destroyed in very wantonness ; 

He robbed it of the life the gods had given. 

Oh ! take it hence, I dare not look on death ! 

(Pygmalion throws him on chair, B.) 
Myr. Why, was this allhe killed 1 

Gal. {astonished) All ! ! I And enough 1 

Myr. Why, girl — thou must be mad ! Pygmalion, 



PYGMALION AND GALATEA. 25 

She told me he had murdered somebody, 

But knew not whom ! 
Pig. (in great agitdion) The girl will drive us mad ! 

Bid them prepare my horse — I'll bring him back. 

{Exit Myrine, l. E.K., running) 
Gal. Have I done wrong ? Indeed, I did not know ; 

Thou art not angry with me ? 
Pro. Yes, I am , 

I'm more than angry with thee — not content 

With publishing thine unmasked love for me. 

Thou hast estranged Leucippe from his love 

Through thine unwarrantable foolishness. 

j&nicT MiMOS, U.E.R. 

MiM. Sir, Chrysos and his lady are without, 

pYa. I cannot see them now. Stay — show them in. 

{Exit MiMOS) 
(<o Gaiatea) Go, wait in there. I'll join thee very soon. 

{Exit Galatea, l.e.b.) 

Enter Daphne, u.e.r. ; Pygmalion goes to statue, L., and 
begins to xoork on it. 

Daph. "Where is Pygmalion ? 

Pyg. Pygmalion's herd. 

Daph. We called upon you many months ago, 

But you were not at home — so being here 

We looked around us and we saw the stono 

You keep so carefully behind that veil. 
Pyg. That was a most outrageous liberty. 
Daph. Sir ! do you know me ? 
Pyg. You are Chrysos' wife^ 

Has Chrysos come with you ? 
Daph. He waits without. 

I am his herald to prepare you for 

The honour he confers. Be civil, sir, 

And he may buy that statue ; if he does 

Your fortune's made ! 
Pyg. {to MiMOSj You'd better send him in. {Exit Mmos, E.) 

Enter Chrysos, u.e.r. 
Chry. {down R.C.) Well — is the young man's mind prepared ' 
Daph. It is ; 

He seems quite calm. Give money for the stone, 
I've heard that it is far beyond all price. 
But run it down, abuse it eie you buy. 
Chky. {to Pygmalion) Where ia the statue that I saw last 
time ? 



26 PYGMALION AND GALATEA. 

Pro. (at a io.?s) Sir, it's unGnished — it's a clurn^ thin^ 

I am ashamed of it. 
Chby. It isn't good. 

There's want of tone ; it's much too hard and thin 5 

Then the half distances are very crude — 

Oh — very crude indeed — then it lacks air, 

And wind, and motion, massive light and shad© } 

It's very roughly scumbled ; on my soul 

The scuuibling's damnable ! 
Daph. (asidn to him) Bethink yourself I 

That's said of painting — this is sculpture ! 
Chry. Eh ? 

It's the same thing, the principle's the same ; 

Now for its price. Let's see — what will it weigh I 
Daph. a ton, or thereabouts. 
Chby. Suppose we say 

A thousand drachmas ? 
Pyo. No, no, no, my lord. 

The work is very crude and thin, and then 

Remember, sir, the scumbling 

Chry. Damnable I 

But never mind, although the thing is poor, 

'Twill serve to hold a candie in my hall. 
Pro. Excuse me, sir, poor though that statue be, 

I value it beyond all price. 
Chry. Pooh, pooh ! 

I give a thousand drachmas for a stone 

"Which in the rough would not fetch half that sum I 
Daph. Why bless my soul, young man, are you aware 

We gave but fifteen hundred not long since 

For an Apollo twice as big as that ! 
Ptg. Bat pardon me, a sculptor does not test 

The beauty of a figure by its bulk. 
Chry. Ah ! then she does. 
Daph. Young man, you'd best take care, 

You are offending Chrysos 1 ^ {Exit, b.u.e.) 

Chry. And his wife. (goiti-g) 

Pyg. I cannot stay to enter into that. 

Sir, once for all, the statue's not for sale. 

(Ex't, 2 door u) 
Chry. Sir, once for all, I will not be denied ; 

Confound it — if a patron of the arts 

Is thus to be dictated to by art, 

What comes of that art patron's patronage t 

Oh, upstart vanity of human kind ! 

Oh, pride of worms — oh. scholarship of fools t 

Oh, ponderosity of atoms ! oh, 



PYGMALION AND GALATEA. 27 

Substantiabty of nothingness ! 

Ha must be taught a lesson — Where's the stone? 

{goes to pi'di'sial aiid opens ciirtains) 

It's gone! {eider Galatea, r.i e., he stares at her in 

asionisfiment) Hallo ! What's this 1 
Gal. Are you unwell f 

Chrt. Oh no — I fancied just at first — pooh, pooh ! 

Ridiculous, {aside) And yet it's very like ! 

(aloud) I know your face, haven't I seen you in 

In — in (puzzling himself) 

Gal. In marble ? Very probably. 

Curt, {recovering himself) Oh, now I understand. Why 
this must be 

PygniAlion's model ! Yes, of course it in. 

A very bold -faced woman, I'll be bound. 

These models al^^'ays are. Her face, alas, 

Is very fair ; her figure, too, is neat ; 

But, notwithstpnding, I will speak with her. 

Come hither, maiden. 
Gal. {who has been examiniiig him in great wonder) Tell 

me, what are you ? 
Chky. What am I ? 

Gal. Yes, I mean, are yoa a man ? 

Chby. Well, yes ; I'm told so. 
Gal. Then believe them not, 

They've been deceiving you. 
Chry. The deuce they have t 

GaIj. a ihan is very tall, and straight, and strong, 

With big brave eyes, fair face, and tender voice. 

I've seen one. 
Chry. Have you ? 

Gal. Yes, you are no man. 

Chry. Does the young person take me for a woman t 
Gal. a woman ? No ; a woman's soft and weak, 
' And fair, and exquisitely beautiful, 

J am a woman, you are not like me. 
Chry. The gods forbid tliat I should be like you. 

And farm my features at so much an hour ! 
Gal. And yet I like you, for you make me laugh ; 

You are so round and red, your eyes so small. 

Your mouth so large, your face so seared with lines. 

And then you are so little and so fat ! 
Chry. (aside) This is a most extraordinary girl. 
Gal. Oh, stay — 1 understand — Pygmalion's skill 

Is the result of long experience. 

The individual who modelled you 

Was a beginner very probably ? 



28 PYGMALION AND GALATEA. 

Chky. (puzzled) No. I have seven elder brothers. Strange 

That one so young should be so very bold. (crossts L.) 
Gal. {siLTprised) — This is not boldnes", it is innocence ; 

Py.umalion says so, and he ouirht to know. 
Chky. No doubt, but I was not bovn yesteri^.ay. {sits, L.) 

Gal. Indeed ! — I was. (he herloKs her to nit beside him) 

How awkwardly you sit. 
Chry. I'm not aware that thmc is anything 

Extraordinary in my sitting down. 

The nature of the seated attitude 

Does not leave sonpe for much variety. 
Gal. I never saw Pygma'ion sit like that. 
CuRY. Don't he sit down like other men 1 
Gal. Of course t 

He always puts his arm around my waist. 
Chry. The deuce he does ! Artistic reprobate ! 
Gal. But you do not. Perhaps you don't know how 1 * 
Chry. Oh yes ; 1 do know how ! 
Gal. Well, do it then ! 

Chry, It's a strange whim but I will humour her. (does so) 

You're sure it's innocence ? 
Gax. Of course it is. 

I tell you I was born but yesterday. 
Chry. Who is your mother ? 
Gal. Mother ! what is that ? 

I never had one. I'm Pygmalion's child ; 

Have people usually mothers ? 
Chry. Well 

That is the rule. 
Gal. But then Pygmalion 

Is cleverer than most men. 
Chry. Yes, I've heard 

That he has powers denied to other men, 

And I'm beginning to believe it ! (aside) 

Enter Daphn]^, u.e.r. 
Daph. Why ■ 

What's this? (Chrysos qtiickly moves away from Galatea) 
Chry. My wife? 

Daph. Can I believe my eyes ? (Galatea rises) 

Chry. No ! 

Daph. Who's this woman ! Why, how very like 
Chry. Like what ? 
Daph. That statue that we wished to buy, 

The self-same face, the self-same drapery. 

In every detail it's identical. 
' Why, one would almost think Pygmalion, 



PYGMALION AND GALATEA. 29 

By some strange means, had brouglit the thing to life, 

So marvellous her likeness to that atone, 
Chry. (asile) A. very good idea, and one that I 

M ly well improve upon. It's rather rash, 

But desperate ills need desperate remedies. 

Now for a good one. Daphne, calm yourself, 

(crosses to her) 

You know the statue that we spoke of. Well, 

The gods have worked a miracle on it 

And it has c >me to life. Behold it here ! 
Daph. Bah ! Do you think me mad 1 
Gal. His tale is true, 

I was a cold unfeeling block of stone, "* 

Inanimate — insensible — u<itil 

Pygmalion, by the ardour of his prayers, 

Kindled the spark of life within ray frame 

And made me what I am ! 
Chry. {aside to Galatea) That's very good ; 

Go on and keep it up. 
Daph. You brazen girl, 

I am his wife ! 
Gal. His wife ! (to Chrysos) Then get'you hence, 

I may not love you when your wife is here. 
Daph. Why, what unknown audacity is this ? 
Chuy. It's the audacity of innocence ; 

Don't judge her by the rules that govern yon, 

She was born yesterday, and you were not I 
Enter Mimos, u.e.r. 
MiM. My lord, Pygmalion's here. 
Chry. (aside) He'll ruin all. 

Daph. (to Mimcs) Who is this woman ? 
Chry. Why, I've told you, she— — 

Daph. Stop, not a word ! I'll have it from his lips ! 
Gal. Why ask him when I tell you ? 
Daph. Hold your tongue ! 

(to Mimos) Who is this woman 1 If you tell a lio 

I'll have you whipped. 
MiM. Oh, I shall tell no lie ! 

That is a statue that has come to life, 
Chry. (crosses and aside to Mimos) I'm very much obliged to 
you. (gives him money) 

Enter Myrine, u.e.r. 
Myr. What's this t 

Is anything the matter ? 
Daph. Certainly. 

This woman 

Myr. Is a statue come to life. 



30 PYGMALION AKD GALATEA. 

Chrt. I'm very much obliged to you I (crosses to her) 

Enter Pygmalion, u.e.e. 

Pro. How now, 

Ohrysos ? {down, o.) 

Chry. The statue !- — 

Daph. Stop ! 

Chry. Let me explain. 

The statue that I purchased 

Daph. Let me speak. 

Chrysos — this girl, Myrine, and your slave, 

Have all agreed to tell me that she is • 

Pyg. The statue, Galatea, come to life ? 

Undoubtedly she is ! 
Chry. It seems to me 

I'm very much obliged to every one ! {crosses <o Daphne) 

Enter CYi^iSGA., u.b.r. 
Cyn. Pygmalion, my love ! 
Pyg. Cynisca here ! 

Cyn. And even earlier than I hoped to be. 

{aside) Why who are these ? {aloud) I beg your pardon, 
sir, 

I thought my husband was alone. 
Daph. (maUciounly) No doubt. 

I also thought my husband was alone ; 

We wives are too confiding. 
Cyn, (aside to Pygmalion) Who are these ? 
Pyg. Why, this is Chrysos, this is Daphne. They 

Have come 

Daph. On very different errands, sir. 

(to Galatea) Chrysos has come to see this brazen girl ; 

J have come after Chrysos: 

Chry. As you keep 

So strictly to the sequence of Wents 

Ad<i this — Pygmalion came after i/ou ! 
Cyn. Who is this lady 1 {alluding to Galatea) Why, 

impossible ! 
Daph. Oh, not at all ! (goes vpn. with Chrysos) 

Cyn. {turning to pedestal) And yet the statue's gone 1 
Pyg. Cynisca, miracles have taken place ; 

The gods have given Galatea life ! 
Cyn. Oh, marvellous ! Is this indeed the form 

That my Pygmalion fashioned with his huiids? 

{approachvtig Galatea with great admiration)) 



PYGMALION AND GALATEA. 31 

Pyg. Indeed it is. 

Cyn. Why, let me look at her. {crosses to Galatea) 

Yes, it's the same fair face — the same fair form ; 

Clad in the same fair folds of drapery ! 
Gal. And dost thou know me then ? 
Cyn. Hear her ! she speaks I 

Our Galatea speaks aloud ! know thee i 

Why, I have sat for hours, and watched thee grow ; 

Sat— motionless as thou — wrapped in his work, 

Save only that in very ecstacy 

1 hurried ever anl anon to kiss 

The glorious hands that made theo all thou art ! 

Come — let me kiss thee with a sister's love. (kissesher) 

See, she can kiss ! 
Daph. (r.) Yes, I'll be bound she can 1 

Cyn. Why, my Pygmalion, where is the joy 

That ou^jht to animate that face of thine. 

Now that the gods have crowned thy wondrous skill. 
Chry. (who has crossed behind to Pygmalion) Stick to our 
story ; bold faced though she be, 

(Muling to Galatea) 
She's very young, and may perhaps repent ; 
It's terrible to have to tell a lie, 
But if it must be told — why, tell it well I 

(goes up R. and sits) 
Cyn. {getting angru) I see ifc all. I have returned too soon. 
Daph. (r-) No, I'm afraid you have returned too late ; 

Cynisca, never leave that man again, 

Or leave liim altuge-her ! 
Cyn. (astonished) Why, what's this ? 

Daph. Our husbands don't deserve such wives as we, 

I'll set you an example ! {going) 

Chry. (calmlii) Wull, my dear, 

I've no objection to your leaving me ; 

I've brought it on myself. 
Daph. Then I'll go home, 

And bolt the doors, and leave you 

Chry. (alarmed) Where? 

Daph. Outside ! 

(Exit, TT.E.R. Chrysos, after a pause, follows her) 

Cyn. (to Pygmalion) Hast thou been false to all I said to thee 

Before I left ? 
Gal. (r.) Oh, madam, bear with him, 

Judge him not hastily ; in every word, 



32 PYGMALION AND GALATEA. 

In every thought he has obeyed thy wish." 
Thou badst him speak to me as unto thee ; 
A.nd he and I have sat as lovingly 
As if thou hadst been present to behold 
How faithfully thy wishes were obeyed ! 

{crosses to Pygmalioh 

Cyn. (r.) Pygmalion ! What is this? 

Pyg, (l. , to Galatea) Go, get thee hence, 

Thou shouldst not see the fearful consequence 

That must attend those heedless words of thine ! 
Gal. (c. ) Judge him not hastily, he's not like this 

When he and I are sitting here alone. 

He has two voices and two faces, madam, 

One for the world, and one for him and me ! 
Cyn. (with suppressed passion, crosses to Pygmalion) Thj 
wife against thine eyes ! Those are the stakes ! 

Well, thou hast played thy game, and thou hast lost. 
Pyg. Cynisca, hear me ! In a cursed hour 

I prayed for power to give that statue life. 

My impious prayei^.iroused the outraged gods, 

They are my judge?', leave me in their hands. 

1 have been false to them, but not to thee t 

Spare me 1 
Ctn. Oh, pitiful adventurer ! 

He dares to lose but does not dare to pay. 

Come, be a man ! See, I am brave enough 

And I have more to bear than thou ! Ueholdl 

I am alone, thou hast thy statue bride ! 

Oh, Artemis, my mistn ss, hear me now 

Ere I remen)ber how I love that man, 

And in that memory (< rget my chamo. 

If he in deed or thought liath been nntrue, 

Be just and let him pay the penalty ! 

Pygmalion with an exclamatljn covets his eyes with hU hands. 

Gal. Cynisca, pity him ! {crosses to her and kueds) 

Cyn. I know no pity, woman ; for the act 

That thawed thee into flesh has har<leiied me 
Into the cursed stone fnjm which thou cam'st. 
We have changed places ; from tliis moment forth 
Be thou the wife and I the senseless stone ! 

{thrust? Galatea /;om her) 

End of Act II. 
Quick Dbop. 



PYGMALION AND GALATEA. 33 

ACT III. 
Scene. — Same as Acts I. and II. See curtains to pedestal o^en. 

Enter Daphne, u.e.r. 
Daph. It seems Pygmalion has the fearful gift 

Of bringing stone to life. I'll question him 
A.nd ascertain how far that power extends. 
l\iLt?-r Myrine, I.E.L. , weeping. 

My fine — and in tears ! Why, what's amiss? 
Myr. Oh, we were all so happy yesterday. 

And now, within twelve miserable houra, 

A blight has fallen upon all of us. 

Pygmalion is blind as dei.th itself — 

Cynisca leaves his home this very flay— 

And my Leucippe hath deserte i me ! 

I shall go mad with all this weight of grief I 
Daph. All this ia Galatea's work ? 
Myr. Yes, all. 

Daph. But can't you stop her 1 Shut the creature upl 

Dispose of her, or break her ? Won't she chip 1 
Myr. No, I'm afraid not. 
Daph. Ah, were I his wife, 

I'd spoil her beauty ! There'd be Tittle chance 

Of finding him and her alone again I 
Myr. There's little need to take precautions now, 

For he, alas, is blind. 
Daph. Blind! What of that? 

Man has five senses ; if he loses one, 

The vital energy on which it fed 

Goes to intensify the other four. 

He had five arrows in his quiver ; well. 

He has shot one aw^y, aid f'ur remain. 

My dear, an enemy is not disarmed v 

Because he's lost one arrow out of five ! 
Myr. The punishment he undergoes might well 

Content his wife ! 
Daph. A h ip^iy woman that I 

Myr. Cynisca happy 1 
Daph. To be sure she is ; 

Pygmalion's wronged her, and she's punished him. 

What more could woman want ? 

Enter Cynisca, 2nd door, L. 
Cyv. (coming forward) Whatuiore? Why, this ! 

The power to tame my tong>ie to speak the wordi 

That would restore him to his former self ! 

The power to 'quell the fierce, unruly soul 

That battles with mv miserable heart I 



34 PYGMALION AND GALATEA. 

The power to say, " Oh, my Pygmalion, 

" My love is thine to hold or cast away, 

" Do with it as thou wilt ; it cannot die ! " 

I'd barter half my miserable life 

For power to say these few true words to him I 
Myr. Why, then there's hope for him ! 
Cyn. There's none indeed t 

This day I'll leave his home and hide away 

Where I can brood upon my shame. I'll fan 

The smouldering fire of jeaJousy until 

It bursts into an all-devouring flame, 

And pray that I may perish in its glow ! (crosses, L.) 
Daph. That's bravely said, Cynisca ! Never fear ; 

Pygmalion will give thee wherewithal 

To nurture it. 
Cyn. (passionately, crosses to c.) 1 need not wherewithal 1 

I carry wherewithal within my heart ! 

Oh, I can conjure up the scene at will 

When he and she sit lovingly alone. 

I know too well the devilish art he works, 

And how his guilty passion shapes itself. 

I follow him through every twist and turn 

By which he wormed himself into my heart } 

I hear him I reathing to the guilty girl 

The fond familiar nothings of our love ; 

I hear him whispering into her ear 

The tenderness tliat he rehearsed on me. 

I follow him through all his well-known moods— 

Now fierce and passionate, now fanciful, 

And ever tuning his accursed tongue 

To c lime in with the passion at her heart. 

Oh, never fear that I shall starve the flame 1 

When jealousy takes shelter in my heart, 

It does not die for lack of sustenance ! (crosses, R.) 
Dai'H. Come to my home, and thou shalt feed it there ; 

We'll play at widows, and we'll pass our time 

Railing against the perfidy of man. 

Cyn . But Chrysos ? 

Daph. Chrysos ? Oh, you won't see him. 

Cyx. How so ? 

Daph. How so ? I've turned him out of doort 1 

Why, does the girl consider jealousy 

//cr unassail ible prer gative? 

Thou hast thy vengeance on Pygmalion- 
He can no longer feast upon thij face. • 

Well, Chrysos can no longer feast on mine I 



PYGMALION AND GALATRA. 35 

t can't put out his eyes, I wish I could ; 

But I can shut them out, and that I've done. 
Cm, L thank you, niadaui, and I'll go with ynu. (goes up) 
My.k. No, no ; thou shalt not leave Pygmalion ; (crosses to 

CXKISCA 

He will not live if thou desertest him. 

Add no hing to his p;un — this second blow 

Mii^ht well complete the work thou hast begun 1 
Cyn. Nay, let me go — I must not see his face ; 

For if I look on him I may relent. 

Detain me not, Myrine — fare thee well ! 

(Exit, v.'E.R.; Myrihb follows her) 
Daph. Well, there'll be pretty scenes in Athens now 
That statues may be vivified at will. 

(Chi'.ysos enters, it.e.r., unobserved) 
Why, I have daughters — all of them of age — 
What chance is there for plain young wouien, now 
That every man may take a block df stone 
And carve a family to suit his tastes? 

Chky. If every woman were a Daphne, man 

Would never care to look on sculptured stone I 
(sentimentMy) Oh, Daphn.e 1 

Daph. Mounter — get you hence, away ! 

I'll hold no converse with you, get you gone. 
(aside) If I'd Cynisca's tongue I'd wither him ! 
(imitating Cynisca) " Oh, I can conjure up the scene 

at will, 
" Where you and she sit lovingly alone ! 
** Oh, never fear that I shall starve the flame } 
** When jealousy takes shelter in my heart, 
*• It does not die for lack of sustenance ! " 

Chet. Im sure of that ! your hos|,itality 

Is world-renowned. Extend it, love, to me t 
Oh, take me home again ! 

Daph. Home ! no, not I I 

Why, I've a gallery of goddesses, 
Fifty at least — half dressed bacchantes, too^ 
Dryads and water nymphs of every kind ; 
Suppose I find, when Igo home to-day. 
That they've all taken it into their heads 
To come to life — what would become of them, 
Or me, with Chrysos in the house 1 No — no. 
They're bad enough in marble — but in flesh I 1 1 
I'll sell the bold faced hussies one and all, 
But till I've sold them Chrysos stops outside t 
3hry, What have I done ? 



36 PYGMALION AND GALATEA, 

Daph. What have you not done, sir. 

Chry. I cannot tell you — it would take too long ! 
Daph. I saw you sitting with that marble minx, 

Your arm pressed lovingly around her v^aist. 

Explain that, Chrysos. 
Chry. It explains itself : 

I am a patron of the arts, my dear, 

And I am very fond of statuary. 
Daph. Bah — I've artistic tastes as well as you, 

But still, you never saw me sitting; with 

My arms around a stone A polio's waist ! 

As for this " statue " — could I see her now, 

I'd test your taste for fragments ! 
Chry. Spare the girl. 

She's very your^j and very iinocent, 

She clanns your Jjity. 
Daph. Does she ? 

Chry. Yes, she does. 

If I saw Daphne sitting with her arm 

Round an Apollo, I should pity him. 

{pntimj his arm around her waist^ 

Daph. {relenting) Would you 1 

Chry. I should, upon my word, 1 should. 

Daph. Well, Chrysos, thou art pardoned, {embraces him) 
After all 

The circumstances were exceptional. 
Chry. {aside) Unhappily, thy were ! 
Daph. Come home, but mind 

I'll sell my gallery of goddesses ; 

No good can come of animating stone. {ffoes up, K.O.) 
Chry. Oh, pardon me — why every soul on earth 

Sprang from the stones Deucalion threw behind, 

{goes up and looki at btatue, K.) 

Daph. But then Deucalion only threw the stones. 

He left it to the gods to fashion them. 
Chry. (adde— looking at her) And we who've seen the work 
the gods turned out, 

Would rather leave it to Pygmalion ! 
Daph. {takes Cuvnsos' arm, who is looking at a stat%ie of Venus) 

Come along, do. {Exeunt, u. E. B.) 

Enter Myrine, i. e. L., in great distress. 

Myr. Pygmalion's heard that he must lose hi-; wife, 
And swears, by all the gods that reign above, 
He will not live if she deserts him now I 
What — what is to be done 1 



PYGMALION AND GALATEA. 37 

Enter Galatea, i. e. r. 

Gal. Myrine here I 

Where is Pygmalion ? 
Myr. Oh, wretched girl ! 

Art thou not satisfied with all the ill 

Thy heedlessness has worked, that thou art come 

To gaze upon thy victim's misery ? 

Well, thou hast come in time ! 
Gal. What dost thou mean ? 

Myr. Why, this is what I mean — he will not live 

Now that Cynisca has deserted him. 

O, girl, his blood will be upon thy head ! 
Gal. Pygmalion will not live ? Pygmalion die 9 

And I, alas, the miserable cause ! 

Oh, what is to be done ? 
Myr. I do not know. 

And yet there is one chance, but one alone ; 

I'll see Cynisca, and prevail on her 

To meet Pygmalion but once again. 
Gal. {wildly) But should she come too late ? He may 
not live 

Till she returns. 
Myr. {as struck by a sudden thought) I'll send him now 
to thee. 

And tell him that his wife awaits him here. 

He'll take thee for Cynisca ; when he speaka 

Answer thou him as if thou wast his wife. 
Gal. Yes, yes, I understand. 
Myr. Then I'll begone, 

The gods assist thee in this artifice ! 

{Exit Myrine, 2d. l.) 
Gal. The gods wUl helj me for the gods are good. 

{kneels, o.) 
Oh, Heaven, in this great grief I turn to thee, 
Teach me to speak to him, as, ere I lived, 
Cynisca spake to him. Oh, let my voice. 
Be to Pygmalion as Cynisca's voice, 
^And he will live — for her and not for me— 
Yet he will live. I am the fountain head. 

{Enter Pygmalion, 2 l. d. , unobserved, led in by Myrinb) 

Of all the horrors that surround him now. 
And it is fit that I should suffer this ; 
Grant this, my first appeal — I do not ask 
Pygmalion's love ; I ask Pygmalion's life. 



38 PYGMALION AND GALATEA 

Pygmalion utters an exclamation of joy. i^Jie rushes 

to him, and seizes his hand. 

P>g I alijn ! 

Pyg. I have no words in which 

To tcl Ihe joy with which I heard that praypr, 
Ch, t ke m ; to thine arms, my dearly loved ! 
And tea(h nie once again how much 1 risked 
In risking such a heaven-spnfc \o\e as thine ! 

Gal. (believing that he refers o her) Pyg nalio i ! my love 1 
Pygmalion ! 
Once more those words ! again ! say them again 1 
Tell me that thou forgivest me the ill 
That 1 unwittingly ha\e worked on thee ! 

Pyg. Forgive tltee? Wh , my wife, I did not dare 
'i o ask thy pardon, and thou askesfc mine 
The compact with thy mistress Artenrs 
Gave thee a heaven-sent right to punish me, 
I've learnt to take whate'er the gods may send, 

Galatea, at Jird delighted, learns in the cours6 of this 
spech that Pygmalion takes her for Cynisca, and 
expresses extieme horror. 

r AL. {with an effort) But then, this woman, Galatea 

lYG. Weill 

Ga! . Thy love for her is dead 1 

Pyo. I had no love. 

Gal. Thou hadst no love 1 

Pyg. No love. A.t first, in truth, 

In mad amazement at the miracle 

That crowned my handiwork, and brought to life 

The fair creation of my sculptor's skill, 

I yielded to her god-sent influence, 

For I had worshipped her before she lived 

Because she called Cynisca's face to me ; 

But when she lived — that love died — word by word. 
Gal. That is well said ; thou dost not love her theti ? 

She is no more to thee than senseless stone 1 ' 
It :. Fpjak not of her, Cynisca, for I swear, 

The unhewn marble of Pentelicus 

Hath charms for me, which she, in all her gloTf 

Of womanly perfection, could not match. 
Gai, I'm very glad to hear that this is so. 

Thou art forgiven ! {hisses his forehead) 
Pyg. Thou hast pardoned me. 

And though the law of Artemis declared 

Thy pardon should restore to me the light 

Thine anger took away, I would be blind, 



PYGMALION AND GALATEA. 59 

I would not have mine eyes lest they should rest 

On her who ca'ised mo all tliia bitterness ! 
Gal. IndcoJ, Fy^riKloii—'tworc better thus — 

If thou could.st U)ok on Galatea now, 

Thy love for her perchance might come again. 
Pyg. No, no. 
Gal. They say that she endureth pains 

That mock the power of words. 
Pyg. It should be so. 

Gal. Hast thou no pity for her ? 

Cynisca enters unobserved, R. u. E. 
Pro. No, not 1. 

The ill that she hath worked on thee — on me — 

And on jNLyrine — surely were enough 

To niak*^ us carse the hour that gave her life. 

She is 111.'. ;it Lo Uvc upon this world ! 
Gal. (biticrhf) C)>uii this worthy world, thou sayest well. 

The woman shall be seen of thee no more. 

{takes Cynlsca's hand and leads her to Pygmalion) 
What wouldit thou with her now ? Thou hast thy wife! 

S/i/C substitutes Cynisca in her place, and exit u. E. n. , 
weepi'n(j. Cynisca takes him. to her arms and kiase» 
him ; he recovers his sight. 
Pyg. Cynisca ! see ! the light of day is mine ! 

Once more I look upon thy well loved face 1 
J<:Hter Myrine and Leucippe, u. e. b. 
Leu. Pygu alion ! Thou hast thine eyes again ! 

Come — this is happiness indeed ! 
Pyg. And thou I 

Myrine has recalled thee ? 
Led. No, I came, 

But more in sorrow than in penitence ; 

For I've a hardened and a blood-stained heart. 

I thought she would denounce me to the law, 

But time, I found, had worked a wondrous change ; 

The very girl, who half-a-day ago 

Had cursed me for a ruthless murderer, 

Not only pardoned me my infamy. 

But absolutely hugged me with delight, 

When she, with hungry and unpitying eyes. 

Beheld my victim — at the kitchen fire ! 

The little cannibal ! 

Enter Galatea, u. e. b., downo. 
Mtb. (after a pause) Pygmalion ! 

See— Galatea's here ! (Galatea kneels to Pygmaliou) 



40 PTGMALIOV AND GALATEA. 

Pyo. Away from me, 

Woman or statue ! Thou the only blight 

That ever fell upon my love — begone, 

(shu covers her eyes, Cynisca comforts her) 

For thou hast been the curse of all who came 

Within the comp^iss of thy waywardness ! 
Cry. No, no — recall those words, Pygmalion, 

Thou knowest not all. 
GrAt. (rising and haelivg up stage) Nay, let me go from him; 

That curse, his curse still ringing in mine ears, 

For life is bitterer to me than death. 

(she mounts the steps of pedestal) 

Farewell, Pygmalion — I am not fit 

To live upon this world — this worthy world. 

(curiams begin to close slowly around Galatea) 
Farewell, Pygmalion. Farewell — farewell ! 

(the curtains conceal her) 

Ctk. (angrily) Thou art unjust to her as I to thee ! 
Eers was the voice that pardoned thee — not mine. 
I knew DO pity till she taught it me. 
I heard the words she spoke, and little thought 
That they would find an echo in my heart ; 
But so it was. I took them for mine own, 
And asking for thy pardon, pardoned thee ! 

Pyg. (amazed) Cynisca ! Is this so ? 

Cyn, In truth it is ! 

Gal. (behind curtiin) Farewell, Pygmalion ! Farewell- 
farewell ! 

Ptomalion rushes to the veil and tears it away, discovering 
Galaxea as a statue on the pedestal, as in Act J, 

(^Sqft Music. Slow Curtain.) 




PROSCENIUM AND DROP SCENE. 

^P3El.C>i9t03ES3NrXXT3VC.— A most effective Proscenium can b» 
formed by utilizing the pSiper made for this purpose. Three pieces ot wood are iiierel/ 
required, shaped according to this detign, and covered with the paper ; the prosceninm 
huving tlie appearance uf light blue puffed satin panels, In gold frames, with Siiaka- 
Bpeaid medallici in the centre. 

I'uflfed satin paper, Light Bhie, size 20 inches by CO inches, per sheet, 35 cts. 

Imitation Gold Bordering, per sheet, 23c., making 14 feet. 

Shakespearian Medallion, IS inches in diameter, 50 cts. 

^3 ^^^3 DP SCJIESlNriE!«— The picture shown above is an fllnstn^ 
tion of this scene. It comprises four sheets of paper which are to be pasted in the 
centre of any sized canvas that may be requisite for the drop curtain. Size C^ feet 
by 5 feet. Price §2.50. 

^3^3^3^^iSa — These comprise three sheets of paper each, and can be 
had either for drawing-room or cottage purposes. Size, 7 feet by 3 feet. Price, com- 
plete, $1.25 e.ach. 

\/\^ Z^SrX3^3 '\/\^ m — This is a parlor window formed with two sheets 
ot jiaper, and could be made i)racticabie to slide itp and down. The introd'i'.ction of 
curtains each side would make it very effective. Size, 3 feet by 4}^ feet. Price, 
$1.00, complete. 

Z*Z=LZ:3\rO;Z3: '\7^IlNr3DC5'X?17'.- consisting of four 
sheets of paper, representing a window containing four lai ge ornamental frosted glusa 
panes with colored glass around. Size 6>^ feet high by 5 lect. Price $1.50. 

I"imS3PIj.^3LOZES.— This is also made with two sheetsot paper. 
The fire is lighted, but should this not be required a fire-paper can be hung over it. It; 
will be found most useful in many farces wherein a character has to climb np a chim. 
ney, and many plays where a fireplace is indispensable. By purchasing a door, win- 
dow, and fireplace an ordinnry room scene c ' 1 easily be constmctpd with the addi* 
tion^joiae wall-i)aper. Size, 3 feet by 4)4 Iv... i'lice, complete, $1.26, 



fee: 



April VuUy 



At Sixes and Se... 

Barl)ara 

Baron's Wager 

BtHfiv 

Bow Bells 

BreaeVi of Promise 

Breaking the Ice 

Brothers (The) 

Bubbles 

By Special Request 

Case for Eviction 

Ohiilk and Ciheese 

(•haiity 

Cirounistances Alter Cases 

Coufederate Spy 

(,'ompromisin!4 ('as<- 

(Grazed 

Crossed Love 

Danichefl's 

Dimity's Dilemma 

DreamH 

Ducheasof Bayawater ifc Co 

Dnty 

Engaged 

Kquala 

False, Shaiue 

Fennel 

First Mate 

For the Old Love's Sake 

(larden Party 

(Tarrick (Muskerry) 

Creortre OelMi 

(ientle Gertrude Bnil 

Girl Graduate 

Girls (The) 

Glimpse of Paradise 



LIBRARY OF CONGRESS 



014 491 061 8 






xiai-vi-!»L nouie 

His Own Guest 

Hook and Jij'e 

In Honor Bound 

Iron Master (TIk) 

T^ady Fortune 

Linked bv Love 

LouK Odds 

Ijove Game 

Ijvrical Lover 

Alajor and Minor 

Man Pioposes ( Grundy) 

Marble A'ch 

Melting Moments 

IVferry Meeting 

Mariner's Return 

Miser 

Alonth After Date 

Mv Friend Jarlet 

My Little Girl 

My Lord in Livery 

Nearly Seven 

Nearly Severed 

Nettle 

Not Such a Fool, etc. 

Obliging His LandUidv 

Off Duty 

Old Cronies 

On the Brink 

Once Again 

Once a Week 

Open Gate 

Overland Route 

Palmistry 

I'etticoMt Perfidy 

Pitv 



Playmates 

Proiujitei-'s 3os 

PostscriiJt 

Progress 

Punch 

Ruined by Drink 

Railway Adventure 

Row in the House 

Sample vs. Pattern 
j Saved 

Second Thoughts 
I Senior Wrangles 

Sins of the Fathei-^ 
I Sixpenny Telegram 
I Sour Grapes 

Spur of the jMnnr :u 

Steeple Jack 
j Stexj' Sister 
I Sunny Side 

Sunset 
1 Sunshine 

Taken b\- Storm 

Tears: Idle Tears 

That Dreadftil Doct.ir 
i The Nightingale 
' Thorough Base 
; Througi he Fire 

Tom j'iiich 

'true Colors 

Two Pros 

Which 

Why Worn u Wop 

Woman's Wrongs 
, Written iu oaud 
I Yellow Roses 
I Yeoman's Service 



G-UIDE TO SELECTING PLAYS ; 

rrice Jts Cents. 

Showing how to select Fai'ces, Comedies, Dramas, for Private oi- Public 

Perforniauce: giving the Number of Characters, Ihe Author's Name, the Scenery, , 

Oostmnes. Time ir. Representation, and the Plot or Advice. < -.unected with J 

1,500 Pieces. , 1 9 



AR.TICI^25S iSJSEDED BY AMAXKURS, 

Suc'i as Ti'jlsius Lights, l.'a?ne:hm Talr'eauz Ligits, Prepared Burnt Cork, Grease, Paints, 
Liyhtning for Private Theatricals. 

buicia to Selecting Plays. Hints on Costume. Scenery to Fit any Stage. 

.Tarloy's Wax Works, Ethiopiau Plays, Charades, Amateur's Guide, 

Guide to the Stago. 

T. H. FRKTnTCH, 
28 JFest 2S<1 St.. Xew York. 



